Marcel Duchamp’s readymades are considered one of the most significant turning points in modern art, as they introduce a fundamental question concerning the nature of the artwork by transferring every day and industrial objects from their functional context into the space of art. In these works, objects that previously belonged to a network of instrumental functions are presented as artworks without any noticeable artisanal transformation. In works such as Being and Time and The Origin of the Work of Art, Heidegger develops an ontological analysis of these categories and explores the conditions under which artworks reveal truth. The aim of this research is to clarify the relationship between Marcel Duchamp’s readymades and Heidegger’s philosophy of art, and to examine the possibility of understanding the transition from tool to artwork within the framework of Heideggerian concepts. Accordingly, the central question of the study is formulated as follows: how can Duchamp’s readymades be interpreted through Heidegger’s philosophy of art, and what meaning does the transformation of a tool into an artwork acquire within this framework? The present research is based on a hermeneutic phenomenological approach. The data for this study have been collected through library research and scholarly sources. The findings of the study indicate that Duchamp, by suspending the instrumental function of objects and removing them from their network of utility, creates a condition in which the object transcends its status as a mere tool and enters the horizon of the artwork. In this suspended state, the object is no longer encountered primarily as something to be used, but rather as something that appears and invites reflection. From this perspective, Duchamp’s readymades provide a new way of understanding the relationship between tool, truth, and artwork in light of Heidegger’s philosophy of art.